Madonna’s most focused effort in decades, the album earns its nostalgia by prioritizing it.
Moment of Forever is intended to reassert Willie Nelson’s mainstream relevance.
Here is a definitively modern record, and perhaps the first of Collett’s solo albums to sound like a real classic.
What works so well about Lucky is the interplay between the band’s buoyant arrangements and lyrics that reflect a pronounced anxiety.
It’s not surprising that nearly every article written about Kate Nash’s debut, Made of Bricks, comparesher to Lily Allen.
It looks like Robyn is finally ready to make a stateside comeback.
Raydoncong was hardly as boiled-down as Mahjongg’s disappointing new album, Kontpab.
Sadly, most of these songs are not really songs, because that’s not what the Mars Volta do.
The songs here are sure to fulfill their potential in a live show, but Hernando flattens too much of their reverb and distortion.
This is a sporadically brilliant effort by an exceptional band whose reach still sometimes exceeds their grasp.
If the result isn’t a classic like Dusty in Memphis, it’s at least a reminder of why Lynne merits those comparisons at all.
Rain is rooted more in the sophisti-pop of Night and Day than the pseudo-punk of Look Sharp! or I’m the Man.
Sheryl Crow’s Detours reunites the singer with producer Bill Bottrell for the first time since her debut. Read our review.
The Recording Academy no doubt has oodles of tedium in the works for us at this year’s Grammy Awards ceremony.
The album is more sensual and surreal than anything produced by the band’s immediate progenitors.
Vampire Weekend is little more than a repackaging of the group’s fame-making demo.
3Ality Digital Production chose the right band as its subject and put the right woman in charge of executing it.
Like tectonic plates, Radar Bros. move exceedingly slow but eventually build up something momentous.
The album’s pleasures stand as something warmly new from a major talent.
There’s little here that’s likely to reprise the slow-burning success of the inspirational smash “Unwritten.”
This is the “for the clubs” monster the half-written “Come on Get Up” wanted to be back in 2001 before giving up entirely.